UVic

Art beyond the gallery walls

For Dan Russek, art abounds in urban settings, whether it be in the form of manhole covers, bike racks or other items and scenes that city dwellers regularly encounter. Spurred by an early love of photography, he has been surveying cityscapes with an eye for “public art that goes beyond the gallery.”

photo - University of Victoria professor Dan Russek, author of Exercises in Urban Mysticism: Practical Poetry and other books — University of Victoria professor Dan Russek, author of Exercises in Urban Mysticism: Practical Poetry and other books. (*photo from Dan Russek)*

A professor in the department of Hispanic and Italian studies at the University of Victoria, Russek is the author of Exercises in Urban Mysticism: Practical Poetry, a 2020 book – written in Spanish, with the title Ejercicios de mística urbana: Poesía práctica, and published in Mexico – that explores the poetry of everyday life.

“One way I look at it is that I take the idea of modern art seriously,” Russek told the Independent. “When you see a painting by Jackson Pollock, you may understand its place in the history of art. But what Pollock is showing is a kind of texture, composition and movement that you can find outside of the gallery walls, appealing to a certain sensibility that takes you beyond the museum.”

Russek was intrigued by the 1996 book Manhole Covers, written by Mimi and Robert Melnick and published by MIT Press. It delved into how an object many consider ordinary can provide a record of the history of a city and, some would argue, be deserving of a spot in contemporary urban culture; in other words, seeing a utilitarian object as an “urban sculpture.”

Russek devoted a lot of space in his illustrated book to manhole covers, bike racks, various geometric structures and a variety of textures. Art, as he views it, extends far beyond the confines of canvas or paper. Indeed, by his admission, one of his favourite spots to be is on construction sites, especially in a place like Mexico City, where there are few restrictions for getting inside.

“You take something in itself that may not appear to be too interesting, but, when you look at it in a certain way, it becomes interesting. Or, to quote Gustav Flaubert, ‘Anything becomes interesting if you look at it long enough,’” Russek said.

As an example of this, Russek gives the work of American photographer Edward Weston in the 1920s and 1930s. As Russek describes it, in one image, Weston takes a simple green pepper and turns it into something “astounding.” The same can be done for bike racks and many other urban and industrial artifacts, he said.

Russek, who was born in Mexico, remembers being surrounded by relatives who were passionate about photography.

“As a kid, we would make an album while on a vacation. Each trip yielded an album, as did life events, weddings, bar mitzvahs,” he said. “Life was documented. It gave me a model. I began taking pictures in high school, and I realized I was interested in abstraction.”

Over the years, walking through the streets of cities like Chicago, Mexico City and Buenos Aires, Russek has been struck by many aspects of street art, including graffiti, another form of public art that is found beyond the gallery. In fact, some graffiti, he said, is as valuable as the art one finds in a museum.

“I wish I had my camera with me all the time. The reflections of light in the afternoon over the pavement, it’s phenomenal. The light making reflections on the water from a gutter – life is full of these interesting moments. Bringing the camera is a good thing because I don’t have to look for anything, the world sends it to me,” he said.

Russek completed a PhD in comparative literature at the University of Chicago, specializing in modern and contemporary Latin American literature and visual arts. His fields of research include the links between literature and the visual arts and media, urban studies and esthetics. He has explored the relations between modern technology, culture and literature, and centres on the notion of epiphany and the phenomenon of light. His first book, Textual Exposures: Photography in Twentieth Century Spanish American Narrative Fiction, was published in 2015 by University of Calgary Press.

Some of Russek’s next plans involve going beyond the printed page. He wants to make videos, as the medium “allows you to do more stuff, with music and the matching of images, that you cannot do in a book.” He also writes poetry (sonnets in particular) because, for one reason, “you can take an object or an emotion and write a poem about it and elevate it to a new level of importance.”

Argentine writer Julio Cortázar is an example Russek cites of an artist reaching beyond the confines of a particular medium, an approach that is multifaceted or experimental. In one work, Último Round (Last Round), Cortázar created an almanac-style book filled with articles, poems, essays and illustrations.

Aside from teaching and writing, Russek is the coordinator of the Latin American and Spanish Film Week, now in its 14th year, held in the fall at UVic’s Cinecenta. He is also the president of the Hispanic Film Society of Victoria.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Jews and superheroes

Mark Leiren-Young (photo from Mark Leiren-Young)

From a neurotic gentleman who dresses like a bat, to a wise-cracking human spider, to a Super-Mensch appearing in the bulrushes, not to mention a green golem – it is impossible to escape the Jewish influences of comic superheroes, says Mark Leiren-Young, a creative writing instructor at the University of Victoria.

Put another way, Leiren-Young told the Independent, “It would be simpler to name the iconic comic superheroes who were not shaped by Jewish immigrants. It’s a very small list: Wonder Woman and Shazam. That’s it. That’s all of them.”

In his classes, Leiren-Young and his UVic students examine and analyze the origins of the classic superheroes, almost all of whom were created by Jewish immigrants in the United States. In the first half of the 20th century, these creators were working in comics at least in part because they were not allowed to get jobs in advertising or journalism at the time. In other words, Jews were permitted to do the low-class work that “proper people” would not consider.

Superman, Batman, Spider-Man, Green Lantern, the Flash, Dr. Strange and numerous others on the superhero roster were all products of Yiddishkeit, according to Leiren-Young, whose classes on the DC Universe and the Marvel Universe are among the most popular electives at the university.

“One of the things that fascinated me when I did a deep dive into this – all of these Jewish creators were creating characters who were not shy about their religion, though there were none who overtly identified as Jewish. For example, Spider-Man’s sense of humour is absolutely Borscht Belt humour. It is Stan Lee’s humour,” he said, referring to the character’s creator. “Now, you’re seeing the actor playing Spider-Man (Andrew Garfield) saying he just assumed he was a Jewish character. That’s how he reads.”

The perceived Jewishness of the early manifestations of comic superheroes was not lost on the Nazis. In 1940, a copy of Look magazine, featuring a two-page segment on how Superman would end the war, made its way to the desk of Das Schwartze Korps, the weekly publication of the SS, in Germany. The Nazis attacked Superman’s creator, writing, “Jerry Siegel, an intellectually and physically circumcised chap who has his headquarters in New York, is the inventor of a colourful figure with an impressive appearance, a powerful body, and a red swim suit who enjoys the ability to fly through the ether.

“The inventive Israelite named this pleasant guy with an overdeveloped body and underdeveloped mind ‘Superman.’ He advertised widely Superman’s sense of justice, well-suited for imitation by the American youth. As you can see, there is nothing (they) won’t do for money!”

The Nazis, led by Joseph Goebbels, their chief propagandist, were concerned about Superman’s sense of justice, Leiren-Young contends. The effects of the German invective against Superman and his creators carried over to these shores as well, with DC Comics being picketed by American Nazis in 1940.

“The creators of Superman were living in a Jewish section of Cleveland and were emphatically impressed with the idea of social justice,” Leiren-Young said.

The Superman-going-to-war spread in Look magazine preceded another daring Jewish-inspired comic – Captain America punching Hitler – that would be published in 1941, before the United States entered the war.

The Jewish creators of Superman and Captain America essentially were going to war and defining Hitler as the enemy before any American troops were involved, Leiren-Young explained.

“Captain America was created to punch Hitler. He looks like a nerdy Jew until he gets the super serum and then turns into the All-American Hero, which also created protests from the American Nazi Party. These were controversial because there were still so many Americans who were really not keen on the United States going to war,” said Leiren-Young.

Such imagery continued after the war. In the 1961 comic “The Death of Superman,” for example, the setting for the trial of Lex Luthor, Superman’s archenemy, strongly resembles the trial of Adolf Eichmann in Israel.

In another postwar Jewish connection, the scientist who invented Captain America in the comic series looks increasingly like Albert Einstein as the story progresses.

Leiren-Young developed an interest in comics at an early age, “raiding” his uncle’s collection after Shabbat dinners. “He had everything, but for me it was all about the DC Comics. I remember there were all sorts of different comics, but a lot of DC superheroes,” said Leiren-Young, who has more than 15,000 comic books in his collection.

In 2014, when Swerve magazine asked writers across Canada to name the most influential book they read as a youth, Leiren-Young responded, “I’ve written a few stories about how and why I fell in love with comics, but I never imagined that having a collection of 15,000-plus comics would launch my career as a television writer or become a job qualification for teaching certain university classes,” he tells his students.

Leiren-Young has written and/or developed animated shows for Netflix, BBC Kids, ABC, Teletoon and other broadcasters. He has also written for BBC’s live-action CGI superhero series Ace Lightning, and his other cartoon credits include scripts for ReBoot, Transformers: Beast Wars, RollBots, Class of the Titans and Pucca.

Beyond his classes and comics, Leiren-Young is a playwright, author, journalist, filmmaker and performer. The Hundred-Year-Old Whale, a film he wrote and directed, received the 2017 Writers Guild of Canada award for best documentary. His memoir, Never Shoot a Stampede Queen, won the 2009 Stephen Leacock Memorial Medal for Humour.

Leiren-Young recently gave a talk about comic superheroes at Victoria’s Congregation Emanu-El and hopes to address a Vancouver audience about the subject in the near future. His knowledge and enthusiasm for comics extends well beyond the confines of a standard newspaper article. He recommends Up, Up and Oy Vey by Simcha Weinstein, Stan Lee: A Life in Comics by Liel Leibowitz and Is Superman Circumcised? The Complete Jewish History of the World’s Greatest Hero by Roy Schwartz for further reading on the subject.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Survivors share their stories

Charlotte Schallié, a University of Victoria scholar and Holocaust historian who is leading the graphic novel project, with survivor David Schaffer and graphic artist Miriam Libicki, left, at Schaffer’s home in Vancouver in January 2020. (photo by Mike Morash)

A University of Victoria project, first announced in January 2020, came to fruition this spring with the release of But I Live, a graphic novel that tells the stories of four Holocaust survivors.

But I Live involved an international team of researchers, students and institutional partners from three continents, and brought together four survivors and three graphic artists to create an autobiographic series recounting one of the darkest periods in human history. The survivors who told their stories were Emmie Arbel (Israel), Nico and Rolf Kamp (Holland) and David Schaffer (Canada). Their stories were transformed into art by Barbara Yelin (Germany), Gilad Seliktar (Israel) and Miriam Libicki (Canada). The project was edited and organized by Charlotte Schallié, chair of the department of Germanic Slavic studies at UVic and head of Narrative Art and Visual Storytelling in Holocaust and Human Rights Education at the university.

image - But I Live: Three Stories of Child Survivors of the Holocaust book cover — But I Live: Three Stories of Child Survivors of the Holocaust was published by New Jewish Press (2022).

“Many people in North America have learned about the history of the Holocaust through survivor stories that are repeated in popular culture, which largely focus on survival in the concentration camps or experiences of hiding in Nazi-occupied territory,” said Schallié. “The three stories in But I Live complicate these mainstream narratives by exploring complex topics such as the burden of memory, the need to testify, the ripple effects of trauma and the impact of the Holocaust on descendants of survivors, for example. As historical documents, they are also important for centring the survivors’ experiences and enabling them to tell their own stories.”

Though the gravity of the crimes committed during the Holocaust is well documented, the majority of visual records were largely produced by the Nazis and their collaborators. “These are important historical sources,” said Schallié, “but a sole focus on documentation produced by perpetrators ignores the value of survivors as living knowledge-keepers.”

An objective of the project, therefore, was to turn the perspective over to the survivors. “A survivor-centred approach to gathering testimony about the Holocaust honours the integrity and humanity of the person’s lived experience, while respecting their right to tell their own story,” Schallié said.

Another consideration in the project was time – the majority of Holocaust survivors alive today were young children during the war and are now in their 80s and 90s. The importance of learning from these knowledge-keepers is increasingly vital.

“If we don’t engage them in our research now, their expertise and experience will soon be lost,” Schallié stressed.

There is, in her view, a moral obligation and duty to collect and preserve survivor testimonies. “Each voice that was marked to be silenced by the perpetrators of these atrocities matters greatly and needs to be heard and acknowledged,” she said.

An additional goal of But I Live is to interest young readers in Canada, where high schools are not mandated to include the study of the Holocaust in their curricula.

“We hope that our visual storytelling work will appeal to youths and young adult readers, and elicit within them a deep sense of empathy that leads them to think critically about the historical past and present,” said Schaille.

“Holocaust survivor stories that are presented as heroic narratives, where the storyline progresses from dark to light – or from a site of danger to one of safety – place a heavy burden and responsibility on survivors, whose life stories and memories are unlikely to conform to that model, and simplifies the reality of their lived experiences. But I Live holds space for fragmented memories, difficult emotions and the afterlife of trauma. In doing so, it complicates mainstream tropes, clichés and iconographic imagery that is sometimes misappropriated or exploited in popular culture,” she explained.

image - A panel from “A Kind of Resistance,” a graphic narrative by Miriam Libicki from interviews with David Schaffer — A panel from “A Kind of Resistance,” a graphic narrative by Miriam Libicki from interviews with David Schaffer. (image by Miriam Libicki)

The work at UVic expands on previous projects, such as the book On Listening to Holocaust Survivors: Beyond Testimony by Henry Greenspan of the University of Michigan, which focuses on survivor accounts while being mindful of the trauma such memories can evoke.

“Eliciting experiences and memories of extreme human suffering from the survivors necessitated a research process and practice that privileged their safety by minimizing the risk of re-traumatization, managing potential triggers and providing sustained support for all participating project partners,” Schallié said. “This approach ensured that we – the stewards of survivor memories – honoured what we felt was our obligation and duty to amplify the voices of the Holocaust survivors.”

But I Live was released by New Jewish Press, a division of University of Toronto Press. A German edition, Aber ich lebe, was published by C.H. Beck in July and has received positive coverage in the German broadsheets Der Tagesspiegel and Die Zeit. In November, the book received a German LUCHS-Preis for literature.

On Oct. 23, But I Live won the 2022 Canadian Jewish Literary Award for biography, presented at York University in Toronto. At the ceremony, the project was lauded for exemplifying “the power of the non-fiction graphic novel to convey the experience and aftereffects of the Shoah.… The historical essays, an illustrated postscript from the artists and personal words from each of the survivors offer a profound meditation on the past and its reach into the present.”

But I Live will be featured at the Cherie Smith JCC Jewish Book Festival here in Vancouver on Feb. 12.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Controversy over instructor

A proposed fall semester course at the University of Victoria has raised concerns that it will become what B’nai Brith Canada described as “a forum for antisemitism.” The concerns were sparked by inflammatory comments the course’s instructor, Dr. Shamma Boyarin, wrote on social media earlier in the year.

In a May 26 Twitter post, for example, Boyarin used an obscene verb before labeling Abraham Foxman, former president of the Anti-Defamation League, a “Zionist pig.” On June 3, he ridiculed an individual who had been the recipient of a torrent of antisemitic abuse online. This was followed the next day by a post in which Boyarin remarked, “[It’s] hard for North American Jews to admit the truth: What is happening in Israel is ethnic cleansing and slow genocide.”

An online description of the UVic course, entitled Introduction to Antisemitism, has been modified since it was first posted. At an earlier stage, the description began, “What is antisemitism? As soon as one attempts definitions, it becomes clear that even the most fundamental aspects of antisemitism are controversial.” The course’s current title is also different from the original, which was Towards an Understanding of Antisemitism. Gone, too, is a study of present-day antisemitism.

photo - Prof. Shamma Boyarin — Prof. Shamma Boyarin *(photo from uvic.ca)*

The changes occurred in early August after B’nai Brith, among others, raised objections to UVic about Boyarin teaching a class on modern antisemitism. The course’s subtitle on the UVic website now reads, “A Historical Survey of Key Texts and Moments from Augustine to Luther.” Its description: “What is antisemitism? The term itself was coined in the late 19th century, but when does the phenomenon begin? Is it the same or different from ‘anti-Judaism’? Should we spell it ‘anti-Semitism’ or ‘antisemitism’? Beginning with these basic questions, we will focus on the particular role Christianity has played in developing and sustaining antisemitism in Europe.”

“Moving this course away from modern antisemitism is an important first step,” said Michael Mostyn, chief executive officer of B’nai Brith Canada. “However, we are still concerned that, instead of educating students on the scourge of Jew-hatred, there is a risk, albeit a reduced one, that hostility toward Jews will instead be promoted.

“UVic must provide assurances to the Jewish community that academic freedom will not be used as cover to falsely accuse Jews, as a whole, of contributing to genocide, among other antisemitic canards,” he added.

When contacted by the Independent, UVic expressed the position that it “does not condone antisemitism” and “that it is highly committed to equity, diversity and inclusion and to social justice in its many forms.”

“We are aware that a faculty member has expressed personal views in public communications which are disturbing to people. Those views are personal. They have not been made on behalf of the university or in the context of their work,” said Karen Johnston, a spokesperson for the university.

“Canadians have a constitutional right to free speech, subject to limits under the law,” she said. “And so it cannot be the role of the university to judge or censor its employees’ exercise of free speech in their private lives. While all faculty enjoy the privilege of academic freedom, there are also limitations to this right. In this specific instance, there is no evidence at this time that the faculty member has or will exceed those limitations in teaching this course.”

The university also said it “will act on any allegation that there has been a violation of university policies against discrimination or harassment, which apply to all members of our community.”

Rob Philipp, executive director at Hillel BC, has been monitoring the situation and has spoken with Dr. Kevin Hall, the president of UVic. Philipp said, “If the course does run, we will check to see what the reading material is and what is being taught.” However, he added, while the organization is keeping on top of things, there is not much that can be done to stop the course from going ahead.

Jeff Kushner, president of the Jewish Federation of Victoria and Vancouver Island (JFVVI), said they, too, will be following the UVic course and will remain in contact with senior administration staff.

“The JFVVI does not have any serious concerns about the course material, such as we know it,” said Kushner. “Our concerns are more about the academic and emotional safety of the students enrolled in the course. In this particular case, a professor at UVic made some very objectionable comments on his private Twitter feed. We wish that he had not made such incorrect and inflammatory statements, both in his role as an academic and as a Jew.

“He has not made these comments in any official capacity, and the university has been very clear that these objectionable views are not the views of the university. Our concern is that an individual having these views, and expressing them as he has, may find it difficult to leave them at the classroom door and, through explicit statements or implicit actions, may create an unsafe learning environment for Jewish students holding views contrary to his own.”

In a letter to the university, B’nai Brith urged UVic to publish the syllabus of the revised course online, to cancel the course if it is used to attack the Jewish community in any way and to follow other universities, such as Oxford and Cambridge, in adopting the International Holocaust Remembrance Alliance Working Definition of Antisemitism to “avoid future confusion.”

Boyarin has taught at the University of Victoria since 2008 in religious studies and medieval studies, and in the English department since 2009. According to his profile at UVic, his current research and teaching interests include medieval literature (particularly the literature of Spain and the Near East), comparative literature (particularly Hebrew and Arabic), literature and religion, Jewish studies, and the religious roots of antisemitism. He has additional expertise, his profile continues, in the connections between medieval and contemporary culture, especially as they manifest in heavy metal music and white supremacist ideologies.

The Independent tried to reach Boyarin for comment, but had not heard back from him at the time of publication.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

New exhibit at Uvic

Dr. Helga Thorson of the University of Victoria. (photo from uvic.ca)

The University of Victoria unveiled its Stories of the Holocaust: Local Memory and Transmission exhibit – a project that was part of a combined undergraduate and graduate seminar on Holocaust and memory studies – during an online launch on April 15.

The exhibit is the result of a collaborative effort. Ten community members, comprising Holocaust survivors and descendants of survivors, from Vancouver, Victoria and Salt Spring Island, were paired with 10 UVic students to present wide-ranging and diverse stories from the Shoah in a context both personal and relevant to future Holocaust education.

“Students worked one-on-one with a community partner to figure out the best way to tell each story. This, as they discovered, was no easy task,” said UVic professor Dr. Helga Thorson, the course’s instructor. The students had to learn new technological skills, go over an extensive reading list and develop interpersonal skills, which included “relationship-building and the ethical dilemmas that come into play when telling somebody’s story that is not your own.”

“The engagement and involvement of the 10 students, who took the class assignment seriously, will go a long way in helping us remember the Shoah and the story passed on by their community partner,” said Thorson. “Remembering the past also helps us reflect on the present and what this means for us in today’s world as we continue to grapple with antisemitism, racism and other forms of violence, hatred and injustice.”

Ireland Good, one of the students involved in the project, thanked the Jewish community members for “their courage and their trust in us to tell their stories and to create this exhibit. I have thoroughly enjoyed this experience,” said Good, “even with its low moments, as I am sure it is with all the other students.”

The stories represent varied experiences, including having hid in order to survive and having been sent to a Soviet gulag. They come from Hinda Avery, Lillian Boraks-Nemetz, Rudolf Deman, Ilserl Fränkel, Julius Maslovat, Micha Menczer, Isa Milman, Fred Preuss, Claire Sicherman and Hester Waas.

Maslovat was the youngest prisoner ever at Buchenwald, and he is the subject of a recent film, Why Am I Here?: A Child’s Journey Through the Holocaust. The day of the launch, April 15, had a special significance for Maslovat, as it marked the 76th anniversary of his liberation from Bergen-Belsen. He was just under 3 years old at the time.

“My story did not come to me in a neat package. There were people who knew parts of it and contributed. Other parts I had to dig out of archives in Israel, Germany, Sweden, Britain, Poland, U.S. and Finland. I have tried to tell my story by putting together the pieces like a jigsaw puzzle. This time, I have included material I have not spoken about before,” said Maslovat, explaining his contribution to the archive.

“Despite what people may think about Holocaust survivors writing their memoir or speaking about their experience, we are not navel-gazing,” said writer Boraks-Nemetz, who escaped from the Warsaw Ghetto and lived in hiding. “We who have stared into the abyss of the atrocity that was the Shoah can never erase it from our memories. When I speak about my experience, I always think of the survivors and the victims, of the injustice wrought by a madman who destroyed lives – lives of children, of my little 5-year-old sister, who was brutally murdered for being a Jewish child … of the 1.5 million children who needlessly died.”

Boraks-Nemetz continues to explore the personal and broader impacts of the Holocaust through recent works, the novel Mouth of Truth and a collection of poetry, Out of the Dark.

Dr. Richard Kool is the son of Waas, who hid in the Netherlands during the war. He spoke of the importance of conveying the story to future generations. “I’ve really understood that, as Hester’s child and the oldest of my siblings, I have a responsibility as a carrier of a message that helps me keep looking forward towards recipients, towards recipients who have more life in front of them than behind, recipients who may not even be alive yet,” he said.

“We, the survivors and their children, must look forward and consider the powerful message for future individuals and generations,” he added. “Messages that say, ‘Don’t wallow in despair, worry and victimhood, but act, now, to do what you can with the tools at your disposal and the people around you to help co-create a fairer, healthier, more just, more peaceful community and society.’”

To view the exhibit, go to omekas.library.uvic.ca.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Conspiracists not new

Prof. Simon Devereaux (photo from Twitter.com/UVicHumanities)

The belief in far-fetched plots is not a new phenomenon. There have always been people who gravitate towards and embrace conspiracy theories. In a Feb. 18 talk, hosted by the Jewish Community Centre of Victoria, University of Victoria history professor Dr. Simon Devereaux focused on “the golden age of conspiracy thinking,” highlighting various false intrigues of the latter half of the 20th century.

According to Devereaux, there are three principal elements to conspiracy theories that give them persuasive power among their adherents: big events must have big causes; no big event is random or accidental and must, therefore, be the result of a sinister and nebulous group’s intents or actions; and the most complicated explanation must, by its nature, be the correct explanation.

In his talk – entitled Conspiracy Thinking: A Rational Guide to Thinking Irrationally – Devereaux gave the November 1963 assassination of President John F. Kennedy as an example of “commensurate scale,” the need to equate consequential events with convoluted background planning. A 1992 letter to the New York Times by historian William Manchester was cited as both an explanation of and a counter to this tendency: “if you put the murdered president of the United States on one side of a scale and that wretched waif [Lee Harvey] Oswald on the other side, it doesn’t balance. You want to add something weightier to Oswald. It would invest the president’s death with meaning, endowing him with martyrdom. He would have died for something. A conspiracy would, of course, do the job nicely. Unfortunately, there is no evidence whatever that there was one.”

Devereaux then debunked many of the arguments employed by conspiracy theorists as reasons for why Kennedy might have been killed, including the belief that the young president was prepared to keep the United States out of Vietnam. He argued that Kennedy was a “hawkish” president who had the same secretaries of state and defence as his successor, President Lyndon Johnson.

On segueing into his second point – the inability of conspiracy theorists to accept that big events can happen randomly – Devereaux explained, “conspiracy thinkers ultimately want to believe that the world is an orderly place in which individuals are capable of keeping events under control. They don’t want to believe that the world is a sometimes chaotic place in which deeply upsetting events can happen for no apparent reason. It must, therefore, follow that some superlatively powerful group of individuals must be the directive force behind all events of enormous human significance.”

Growing disenchantment in the late 20th century of the nation state as a power to do good compounded the problem. As the United States lurched deeper into the ethical morass of Vietnam, Western governments, which were often seen as solutions to societal ills, with such programs as the 1930s New Deal, were no longer viewed as virtuous. The Watergate scandal of the mid-1970s, too, contributed to the increasingly held notion that people in government may be inherently corrupt.

Economically, the OPEC crisis and stagflation of the 1970s further demonstrated the “sad proof that government could not ensure that postwar prosperity could last forever,” and led to the presidency of Ronald Reagan and the distrustful neoconservative view of government, which continues to the present, said Devereaux.

“It is more consoling to think that there is someone in control, even if their intentions and purposes are entirely evil, rather than think there is no good explanation for the terrible things that sometimes befall us,” Devereaux argued.

To conspiracy theorists, the more elaborate and bizarre the assertions of conspiracies, the more compelling the argument. They are wont to believe, said Devereaux, that an unconventional approach to seeking answers is the right approach, and are dismissive of any reasoned proposition that runs counter to their argument.

“It is a world of amateur knowledge refusing to accept the world of professional knowledge. Any pattern of systematic, analytical thinking embodied, for instance, in a university, entails conventions,” he said.

To a conspiracy thinker, university professors represent people who are controlled; academics cannot say or do certain things without incurring professional censure. A common aspect of conspiracy thinking is to “trust no one,” i.e., “do not accept any conventional form of received wisdom.”

The rejection of conventional wisdom fuels their notions of being braver and deeper thinkers than others, as only they can follow the elaborate and frequently ludicrous connections of the conspiracy, said Devereaux. Thus, a conspiracy appeals to their intellectual vanity – they believe they are sharing hidden knowledge, therein fostering the idea that they are smarter than everyone else by not falling prey to “fake” mainstream news. Paradoxically, according to Devereaux, the more gullible the conspiracy believers, the more intelligent they think they are.

In his concluding remarks, Devereaux pointed out that there have been numerous conspiracies throughout history. However, most were either limited in their scope or inept, or both. Somewhere along the way, human nature ruins the plot; someone leaves the group, exposes the operation, or bungles the job.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Golem dances tango & more

University of Victoria’s Prof. Dan Russek spoke about Jewish writers in Argentina and Mexico, as well as Jorge Luis Borges’ Jewish-related writings. (photo from Dan Russek)

Dan Russek spoke on 20th-century Latin American writers, both Jewish and those who have been influenced by Jewish themes, at a Jan. 10 Zoom event organized by Congregation Emanu-El in Victoria.

Entitled The Golem Dances the Tango, the talk began with discussion of four Jewish authors – Alberto Gerchunoff and Ana Maria Shua of Argentina and Margo Glantz and Myriam Moscona of Mexico – before examining Argentine Jorge Luis Borges’ Jewish-related writings.

Gerchunoff (1883-1950) painted an idealized version of Jewish life in the Argentine countryside in his writings, with religious Jews as peasant farmers in a new land, explained Russek, an associate professor in the University of Victoria’s department of Hispanic and Italian studies.

In his best-known work, The Jewish Gauchos of the Pampas, a series of vignettes, “Gerchunoff was keen to find parallels between peasant life in Argentina and the Bible, and explore the interaction between Jews and the local residents,” Russek said. In one story, El Episodio de Myriam, a Jewish girl from a pious family elopes with a non-Jewish boy, causing uproar in the community.

Shua represents a more modern writer, less attached to traditions, said Russek. In her 1994 novel The Book of Memories, an anonymous narrator tells the story of the Rimetka family. “Gossip reigns supreme in this fictionalized account of a family. One feels as though we are witnessing a family dinner, perhaps a seder,” Russek explained. The narrator presents different and sometimes contradictory accounts, he said, creating a “series of foibles and misadventures with no end.”

Mexico’s Glantz incorporates much of her family story into her most-recognized book, The Genealogies, published in 1981. The daughter of immigrants from Ukraine, her father, Jacobo Glantz, was a promoter of Jewish intellectual life in Mexico, and once penned a poem about Christopher Columbus in Yiddish.

The Genealogies “is a form of literature as transcription and personal document,” Russek said. “It is a family story centred on her parents and her own coming of age. In Glantz, we see an adoption of Jewish culture but not of Jewish faith nor a strong sense of belonging.”

Moscona, a poet, journalist and translator, was the most contemporary writer of the four. Born in Mexico City to Ladino-speaking Bulgarian immigrants, her autobiographic novel Tela de sevoya explores her quest to find her cultural and linguistic heritage.

Russek then discussed Borges, a Judeophile who had several Jewish friends, from his time studying in Geneva, as well as literary mentors, such as Baruch Spinoza and Franz Kafka. Borges credited his English Protestant grandmother for providing a passion for Israel through a love of the Bible, and recognized Judaism as a pillar of Western Civilization.

In 1934, early in his literary life, Borges wrote an article called “I, A Jew,” which was a defence against an attack from a fascist magazine accusing him of hiding his Jewishness. In it, Borges says he would not mind at all being Jewish.

Borges lauded Israel in his poetry. In his 1969 collection In Praise of Darkness, he views Israel as a place that transcends Jewish history and the stereotypes associated with Jews. Two of the poems were written after the Six Day War and herald Israeli heroism on the battlefield.

In “Israel, 1969,” Borges writes, “You shall forget your parents’ tongue and learn the tongue of Paradise. / You shall be an Israeli. / You shall be a soldier. / You shall build the homeland with swamps, you shall erect it in deserts.”

Jewish characters and themes appear in “The Secret Miracle” and “The Death and the Compass.” And Borges had an abiding interest in kabbalah, which is documented in his essays and lectures. About his story El Aleph, Borges wrote: “In the kabbalah, that letter [aleph] signifies the En Soph, the pure and unlimited godhead; it has also been said that its shape is that of a man pointing to the sky and the earth, to indicate that the lower world is the map and mirror of the higher.”

Russek concluded with Borges’ poem “The Golem,” from the 1964 book El otro, el mismo. “Despite the logical structure of the poem, the theme deals with magic, myth and religion. The main philosophical/theological subject is the relationship between the creator and its creatures,” Russek said.

Russek is the author of Textual Exposures: Photography in 20th-Century Latin American Narrative Fiction and the upcoming Exercises in Urban Mysticism, a book of illustrated poetic prose. He coordinates Victoria’s annual Latin American and Spanish Film Week at Cinecinta.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Illustrating Holocaust stories

Gilad Seliktar, left, and Rolf Kamp in Amsterdam. They are drawing the last hiding place of Nico and Rolf Kamp in Achterveld, which was liberated in April 1945 by Canadian troops. (photo from UVic)

A University of Victoria professor is orchestrating an international project that links Holocaust survivors with professional illustrators to create a series of graphic novels, thereby bringing the stories of the Shoah to new generations.

Charlotte Schallié, a Holocaust historian and the current chair of UVic’s department of Germanic and Slavic studies, is leading the initiative, which connects four survivors living in the Netherlands, Israel and Canada with accomplished graphic novelists from three continents.

The project, called Narrative Art and Visual Storytelling in Holocaust and Human Rights Education, is supported by the Social Sciences and Humanities Research Council of Canada. Its aim is to teach about racism, antisemitism, human rights and social justice while shedding more light on one of the darkest times in human history.

UVic is partnering with several organizations in the project, including the Canadian Museum for Human Rights in Winnipeg, the Anne Frank House in Amsterdam and the Vancouver Holocaust Education Centre.

Many historians of the genre have argued that the rise of graphic novels as a serious medium of expression is largely due to the commercial success of Art Spiegelman’s Maus in 1986. Maus, the first graphic novel to win a Pulitzer Prize, depicts recollections of Spiegelman’s father, a Shoah survivor, with Jews portrayed as mice, Germans as cats and Poles as pigs.

Schallié told the Independent that the idea for the project came from observing the interest her 13-year-old son has in graphic novels and the appeal Maus has had among her students, who have continually selected it as one of the most poignant and memorable materials in her classes.

“Though a graphic novel, Maus could hardly be accused of treating the events of the Holocaust frivolously,” she said from her office on the campus of the University of Victoria.

As most survivors are now octogenarians and nonagenarians, the passage of time creates an ever more compelling need to tell their stories as soon as possible.

image - Barbara Yelin’s illustration of Emmie Arbel, now — Barbara Yelin’s illustration of Emmie Arbel, now. *(image from UVic)*

image - Barbara Yelin’s illustration of Emmie Arbel, then — Barbara Yelin’s illustration of Emmie Arbel, then. *(image from UVic)*

“Given the advanced age of survivors, the project takes on an immediate urgency,” said Schallié. “And what makes their participation especially meaningful is that each of them continues to be a social justice activist well into their 80s and 90s. They are role models for the integration of learning about the Shoah and broader questions of human rights protection.”

The visual nature of a graphic novel allows it to bring in elements or depict scenes that are not possible with an exclusively written work, according to Schallié. A person may describe an event in writing but leave out aspects of a scene that might add more to the sense of what it was like to be there at the time.

One of the survivors participating in the project, David Schaffer, 89, lives in Vancouver. He is paired with American-Israeli comic artist Miriam Libicki, who is also based in the city. The two met in person in early January so that Libicki could learn the story of how he survived the Holocaust as a child in Romania.

In 1941, Schaffer was forcibly sent with his family to Transnistria, on the border of present-day Moldova and Ukraine, by cattle car. There, they suffered starvation and were subjected to intolerable and inhumane living conditions.

image - One of the illustrations by Miriam Libicki, who is working with survivor David Schaffer — One of the illustrations by Miriam Libicki, who is working with survivor David Schaffer. *(image from UVic)*

“The most important thing is to share the story with the general population so they realize what happened and to avoid it happening again. It’s very simple. History has a habit of repeating itself,” said Schaffer.

Libicki, who was the Vancouver Public Library’s Writer in Residence in 2017, is the creator of jobnik!, a series of graphic comics about a summer she spent in the Israeli military. An Emily Carr University of Art + Design graduate, she also published a collection of essays on what is means to be Jewish, Toward a Hot Jew. (See jewishindependent.ca/drawing-on-identity-judaism.)

“The more stories, the better. The wiser we can be as people, the more informed we can be as citizens and the more empathy we can have for each other,” Libicki said. “Graphic novels are not just a document in the archives; they’re something people will be drawn to reading.”

image - Gilad Seliktar drew this sketch of Rolf Kamp — Gilad Seliktar drew this sketch of Rolf Kamp. *(image from UVic)*

The other illustrators are Barbara Yelin, a graphic artist living in Germany, and Gilad Seliktar, who is based in Israel. Yelin is the recipient of a number of prizes for her work, including the Max & Moritz Prize for best German-language comic artist in 2016. Seliktar has illustrated dozens of books – from publications for children to adult graphic novels – and his drawings frequently appear in leading Israeli newspapers and magazines.

Brothers Nico and Rolf Kamp in Amsterdam and Emmie Arbel in Kiryat Tiv’on, Israel, are the other three survivors who are providing their accounts of the Holocaust.

The books will be available digitally in 2022. A hard copy version of each book is planned, as well. When finished, the graphic novels will be accompanied by teachers guides and instructional material designed for schools in Canada, Germany, Israel, the Netherlands, the United Kingdom and the United States.

UVic hopes to match a larger number of survivors with professional illustrators in the future. To learn more, contact Schallié at [email protected]. You can also visit the project’s website at holocaustgraphicnovels.org.

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Community honours and reunions

Honourary degree recipient Robert Waisman, centre, is congratulated by University of Victoria chancellor Shelagh Rogers as UVic president Jamie Cassels, right, applauds. (photo from UVic Photo Services)

The Vancouver Holocaust Education Centre extends a mazal tov to board director and longtime volunteer Robert (Robbie) Waisman, who received the degree of honourary doctor of laws from the University of Victoria on June 13.

Waisman was one of the “Boys of Buchenwald” before he was liberated from the concentration camp, eventually emigrating to a new life in Canada, where he built a successful career and now dedicates himself to Holocaust education. He is a community leader, a philanthropist, a founder and past president of the VHEC, and an extremely effective educator who promotes social justice and human rights for all by sharing his experience as a child survivor.

Audiences impacted by Waisman’s VHEC outreach activities include thousands of British Columbian students each year, as well as students and community groups throughout Canada and the United States. He has served as a mentor to survivors of the Rwandan genocide who were wanting to share their eyewitness accounts. Also notable, Waisman was inducted by the Truth and Reconciliation Commission as an Honourary Witness in 2011, and has spoken alongside First Nations leaders and survivors of residential schools about reconciliation and healing.

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photo - Left to right: Ilan Pilo, JNF, Pacific Region, shaliach; David Goldman, JNF-PR president; Ilene-Jo Bellas JNF-PR past president; Bonnie Belzberg, JNF Canada national vice-president; Wendy Eidinger Spatzner, JNFC national president; and Lance Davis, JNFC chief executive officer — Left to right: Ilan Pilo, JNF, Pacific Region, shaliach; David Goldman, JNF-PR president; Ilene-Jo Bellas JNF-PR past president; Bonnie Belzberg, JNF Canada national vice-president; Wendy Eidinger Spatzner, JNFC national president; and Lance Davis, JNFC chief executive officer. *(photo by Robert Albanese)*

Dedicated teacher, outstanding volunteer, loving daughter, sister and wife, Jewish National Fund of Canada Bernard M. Bloomfield Medal for meritorious service recipient Ilene-Jo Bellas can be called a “Woman for All Seasons.”

A retired high school teacher, Bellas taught English and theatre arts for 32 years in the Delta School District. She directed more than 100 popular plays and musicals at Delta Secondary School in Ladner. Many of her students have graduated to become successful actors, writers, directors and educators, and they keep in touch with their first teacher/director. She was president of the Association of B.C. Drama Educators, and was instrumental in procuring funding for and in the designing of Genesis Theatre, a fully professional theatre in Ladner.

Bellas was born and raised in Vancouver. She attended Sir Winston Churchill High School and Schara Tzedeck Synagogue Religious School. She developed her strong community commitment through youth activities in Young Judaea, Camp Hatikvah, Camp Biluim and working as a camp counselor. In university, she was involved in the Student Zionist Organization and held leadership roles in Hillel. She became a charter member and eventually president of Atid chapter of Hadassah-WIZO Vancouver; she also served as the Vancouver council vice-president.

Since her retirement in 2003, Bellas has used her many talents and skills to serve her community: three years as secretary of the Jewish Seniors Alliance, four years on the board of the Louis Brier Home and Hospital and president of the ladies’ executive of the Richmond Country Club. She also directed musical shows at Vancouver Talmud Torah, produced souvenir books, chaired and worked on dinner committees for Congregation Schara Tzedeck, Vancouver Talmud Torah, Israel Bonds and the JNF. In 2013, Bellas and her husband Joel, z’l, were awarded the Betzalel Award at Schara Tzedeck Synagogue. Most recently, she chaired a very successful fundraising gala for RAPS (Regional Animal Protection Society).

Bellas served as president of JNF Pacific Region from 2012 to 2015. She remains active to this day, continuing as a board member, chairing and co-chairing Negev Dinner committees and producing the souvenir books. Bellas is on the national board of JNF and states that she is very proud to be part of such a proactive organization for the benefit of the state of Israel.

Bellas attributes much of the success of her stellar volunteer career to the loving support and encouragement she received from her beloved husband Joel, z’l.

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photo - The June 28 event honouring Dr. Saul Isserow raised more than $3 million for two initiatives — The June 28 event honouring Dr. Saul Isserow raised more than $3 million for two initiatives. *(photo from CFHU)*

Hebrew University of Jerusalem is known for innovation. With nine Nobel Prize and Fields Medal winners among its alumni and being ranked 12th in the world for biotechnology patent filings, there is an abundance of creativity and ingenuity emanating from the university. It should come as no surprise then that the Canadian Friends of Hebrew University (CFHU) co-convened a fundraising event honouring cardiologist Dr. Saul Isserow on June 28. Hosted by CFHU and VGH & UBC Hospital Foundation in the Landmark Aviation Hangar at YVR, the casual-chic event – which sold out just weeks after it was announced – hosted a capacity crowd of 500-plus people.

The huge walls of the hangar were draped and a lighting and sound system had been installed along with a cabana that was a full-service bar. There were five food stations, including one serving South African specialties. One wall of the hangar was open to the runway and a private jet was on display to top off the evening’s decor.

Among other things, Isserow is director of the Vancouver General Hospital Centre for Cardiovascular Health, director of cardiology services at University of British Columbia Hospital and medical director of Sports Cardiology B.C.

“It’s not in my nature to be fêted in this way,” said Isserow in his address, stressing that the evening was intended to be a fun night to celebrate the achievements of the cardiac team with whom he works, as well as his heartfelt support and love for the state of Israel.

There were more than three million reasons for celebration by the end of the night – to be exact, $3,046,350 was raised to support two initiatives. The money will be divided between CFHU’s Inspired by Einstein student scholarship program and, locally, Isserow’s Sports Cardiology B.C. program at UBC Hospital. Barbara Grantham, chief executive officer of the VGH & UBC Hospital Foundation expressed her gratitude to Isserow for agreeing to be honoured at this event. She said Isserow is a humble man who works tirelessly for his patients and credits his team for his successes.

A short video tribute to Isserow and his journey from South Africa to Canada revealed that he and his wife, Lindsay, began their lives in Canada in Nipawin, Sask. His journey from rural Saskatchewan to the upper echelon of Vancouver’s cardiology community is a testament to his talent and perseverance.

In addition to Grantham and Isserow, CFHU national board chair Monette Malewski gave brief remarks, which were followed by a performance by the Emily Chambers band while dinner was served. The crowd was treated to a short African drumming performance prior to a brief address by Ambassador Ido Aharoni, who spoke about the strong connection between the principles of Hebrew University founding member Albert Einstein and Hebrew U’s function as a launch pad for creative innovation in all areas. After Isserow addressed the group, the evening was rounded off with a DJ and dancing.

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photo - Sunshine Coach — *(photos from RJDS)*

For the past few years, Richmond Jewish Day School’s Student Council committee has been collecting donations to support different charities throughout the Lower Mainland. As part of their ongoing fundraising, the school was able to donate $1,150 to the Variety Club Sunshine Coach program and the school’s name was recently inscribed on the side of a 15-passenger Sunshine Coach, which will be used by Richmond Society for Community Living. The vehicle will transport youth with diverse abilities to various programs throughout the city.

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photo - From left to right, Rabbi Shawn Zell, Maury Miloff, Sam Petuchowski, Tessa Hoffman, Esti Friedman and Allan Pollack stand in front of their class photo, taken with David Ben-Gurion — From left to right, Rabbi Shawn Zell, Maury Miloff, Sam Petuchowski, Tessa Hoffman, Esti Friedman and Allan Pollack stand in front of their class photo, taken with David Ben-Gurion. *(photo by Noam Ziv)*

photo - Aliza and Joe Ziv, who now live in Israel, speak with Vancouver dentist Dr. Brian Goldenberg. Aliza Ziv was Goldenberg’s Grade 1 teacher at Vancouver Talmud Torah — Aliza and Joe Ziv, who now live in Israel, speak with Vancouver dentist Dr. Brian Goldenberg. Aliza Ziv was Goldenberg’s Grade 1 teacher at Vancouver Talmud Torah. *(photo by Noam Ziv)*

Last month, several Canadians – or former Canadians – attended the 50th anniversary of Hadassim Children and Youth Village in Israel. Reunion organizer Rabbi Shawn Zell and the other attendees were among the first young Diaspora Jews to spend a year in Israel on a sponsored program – in their case, one organized by Canadian Hadassah-WIZO.

Confront racism

On Remembrance Day, pro-Nazi posters were discovered at War Memorial Gym on the University of British Columbia campus. The posters depicted Nazi soldiers with the words “Lest we forget / The true heroes of WWII.”

This incident followed the discovery earlier in the week of antisemitic drawings on a chalkboard in the forestry faculty. Rabbi Philip Bregman, executive director of Hillel BC, sent an email to the community thanking the Forestry Undergraduate Society for making a clear statement of solidarity. While this is the good news, he wrote, there is also bad news. Students are reporting that the latest incidents are a “tip of the iceberg” of similar expressions and depictions that go unreported.

Earlier this month, white supremacist and antisemitic posters also appeared at the University of Victoria. “(((Those))) who hate us / Will not replace us,” read a poster. The use of triple parentheses is a method used online to identify Jews. The fear of white people being “replaced” by non-white people is a recurring theme in the white supremacist movement.

These incidents are local iterations of a larger and obviously deeply troubling phenomenon occurring worldwide. In part a response to the movement of refugees from Syria and elsewhere in the Middle East and North Africa, far-right groups in Europe have grown significantly in recent years. This is evident in the horrifying rally of an estimated 60,000 neo-Nazis, hyper-nationalists and racists in Warsaw, Poland, last weekend. And it is underscored by the neutrality or even affirming noises from those in positions of power at the sight of ralliers carrying signs urging “Clean blood,” “Pray for an Islamic holocaust” and “Jews out of Poland.”

Poland’s governing Law and Justice Party has informal connections with some of the extremist groups that organized Saturday’s rally. Poland’s foreign ministry, on the one hand, condemned the xenophobic, antisemitic and racist messaging, but, on the other hand, called the event “a great celebration of Poles.” The country’s interior minister called the rallying extremists “a beautiful sight.”

This sort of equivocation from leaders is perhaps as worrying, or more so, than the rallying mobs themselves. While the past year has seen numerous European far-right parties fail to live up to expectations in elections, their strength is nevertheless very concerning.

On the subject of elections … off-year elections in the United States last week delivered a strong rebuke to the U.S. president. Although polls indicate that 36% of American voters would vote for him again, no president in the history of polling has been this unpopular this early in his mandate. This is, perhaps, a sign that most Americans are turning against the divisiveness and xenophobia that this president advances.

Encouraging as that may be, possibly (wishfully) portending his defeat in 2020, the damage he is doing to the civil fabric of the country is incalculable. It is saddening to see the president of the United States overtly promote racism against Mexicans and people from Muslim-majority countries, threatening one group with a wall and the other with a travel ban that has been repeatedly deemed unconstitutional by the courts. Among his supporters are openly racist and white supremacist activists.

All of this is to say that the world is experiencing a time of extremism. Rather than throw up our hands in despair, this is a time to rededicate ourselves to the values that motivate us, the values for which Canadian and other Allied soldiers fought.

The posters at B.C. universities should be enough to sweep away any complacency we may have about our shores being free from this sort of racist ideology. This is a good thing. Canadians have a right to be proud of our comparatively decent record of multicultural harmony, but smugness is a blinder that can allow us to ignore very real undercurrents. We must be vigilant in calling out evil ideology when we see it at home and abroad.